Podcast appearances and mentions of Candy Says

Singles Going Around- Summer Solstice BluesLink Wray- "Fire and Brimstone"The Beastie Boys- "The Blue Nun/Stand Together"AC/DC- "Let There Be Rock"Jimmy Reed- "Let's Get Together"Bob Dylan- "Lonesome Day Blues"The Doors- "Crawling King Snake"Love- "Alone Again Or"Clash- "Rudie Can't Fail"Don Drummond- "Confucious"Van Morrison- "It Stoned Me" Wilco- "Kamera"Hasil Adkins- "Your Gonna Miss Me"Syd Barrett- "If It's In You"Simon & Garfunkel- "Sounds Of Silence"The Velvet Underground- "Candy Says"Cream- "Sitting On Top Of The World"

This week, Beth & Mo go where no other comedy podcast has gone before and ask questions like - If you like Skittles - do you also like Pokemon? If you're partial to Almond Joys - does that mean you're probably from Connecticut? Plus Beth reveals her obsession with Hoarders & that she once popped a squat on a first date. Hold on to your hats because this week's episode is a wild ride! SUBSCRIBE & HIT THAT BELL! CHANNEL: https://www.youtube.com/channel/UCHA_p9UBCXIwV46q61VrfvA SWEETHEARTS LINKTREE: https://linktr.ee/sweetheartspod   MORE MO WELCH: https://linktr.ee/momowelch Instagram /   @momowelch TikTok/ @momowelch Website / https://mowelch.com/ MORE BETH STELLING: https://linktr.ee/bethstelling Instagram / @bethstelling Twitter -   / @BethStelling TikTok / @bethstelling Website / https://bethstelling.com    00:00 - Licorice and Red Vines 02:00 Rich Vs. Poor Candy 03:13 What Does Your Favorite Candy Say About You 05:33 Hoarder Quotes 13:24 Sweet Treat - Sweet Tart Ropes 15:00 Acapella is cool 19:00 We do impressions again 24:00 Shee Wee Reveal 28:00 Brown Batter Granola Butter 30:30 Our Childhood Crushes 34:00 Top Ice Cream in the Country 37:00 First Crushes 40:00 Childhood Alcoholics 44:33 Comics Stealing Joke 48:00 Reality Show Moment 50:16 Standup in Stilettos 53:00 More Reality + Realness   LISTEN & SUBSCRIBE to Sweethearts w/ Beth Stelling and Mo Welch Podcast iTunes Audio Feed: https://podcasts.apple.com/us/podcast/sweethearts-with-beth-stelling-and-mo-welch/id1743010224?app=podcast Spotify Audio Feed: https://open.spotify.com/show/1Dn2oiEZej3jHDAXwPhqqV?si=bbb9e6734677463c     Artwork by Kurt Firla Musical Score: Niki and Zack Hexum Podcast Producer(s): Stella Young, Tiny Legends LLC, https://www.instagram.com/tinylegends.prod Shot and Edited By: Guy Robinson and Sean Wanless  Edited By: Andrew Tarr (Audio) & Guy Robinson (Video)

This week, hosts Jim DeRogatis and Greg Kot talk with biographer Will Hermes about his recent book on Lou Reed, as well as Lou's music, persona, legacy and more.Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs:Lou Reed, "Walk on the Wild Side," Transformer, RCA, 1972The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club Band, Parlophone, 1967The Velvet Underground and Nico, "Sunday Morning," The Velvet Underground & Nico, Verve, 1967The Velvet Underground and Nico, "Heroin," The Velvet Underground & Nico, Verve, 1967The Velvet Underground, "Pale Blue Eyes," The Velvet Underground, MGM, 1969Lou Reed, "Coney Island Baby," Coney Island Baby, RCA, 1975The Velvet Underground, "Some Kinda Love," The Velvet Underground, MGM, 1969Lou Reed, "How Do You Think It Feels," Berlin, RCA, 1973Lou Reed, "Perfect Day," Transformer, RCA, 1972The Velvet Underground, "Sweet Jane," Loaded, Cotillion, 1970The Velvet Underground and Nico, "I'll Be Your Mirror," The Velvet Underground & Nico, Verve, 1967The Velvet Underground, "Candy Says," The Velvet Underground, MGM, 1969John Prine, "Hello In There," John Prine, Atlantic, 1971See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Today is Halloween and of course everyone will get dressed up in costumes….and eat candy! We all have our favorites, some like chewy, or sour, or fruity, or a chocolate bar! But what does your favorite Halloween candy actually say about you? Well the North Coast Journal did a study and determined your favorite Halloween actually reflects common personality traits! 

British entrepreneur Nick Candy is best known for working alongside his brother Christian to create One Hyde Park, a residential development in London's exclusive Knightsbridge district and home to some of the world's richest people. When sales opened in 2007, the building was smashing world per-square-foot price records. In this week's episode of In the City, Candy tells David Merritt and Francine Lacqua that his next project in Dubai will beat those records. See omnystudio.com/listener for privacy information.

Episode 164 of A History of Rock Music in Five Hundred Songs looks at "White Light/White Heat" and the career of the Velvet Underground. This is a long one, lasting three hours and twenty minutes. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-three minute bonus episode available, on "Why Don't You Smile Now?" by the Downliners Sect. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata I say the Velvet Underground didn't play New York for the rest of the sixties after 1966. They played at least one gig there in 1967, but did generally avoid the city. Also, I refer to Cale and Conrad as the other surviving members of the Theater of Eternal Music. Sadly Conrad died in 2016. Resources No Mixcloud this week, as there are too many songs by the Velvet Underground, and some of the avant-garde pieces excerpted run to six hours or more. I used a lot of resources for this one. Up-Tight: The Velvet Underground Story by Victor Bockris and Gerard Malanga is the best book on the group as a group. I also used Joe Harvard's 33 1/3 book on The Velvet Underground and Nico. Bockris also wrote one of the two biographies of Reed I referred to, Transformer. The other was Lou Reed by Anthony DeCurtis. Information on Cale mostly came from Sedition and Alchemy by Tim Mitchell. Information on Nico came from Nico: The Life and Lies of an Icon by Richard Witts. I used Draw a Straight Line and Follow it by Jeremy Grimshaw as my main source for La Monte Young, The Roaring Silence by David Revill for John Cage, and Warhol: A Life as Art by Blake Gopnik for Warhol. I also referred to the Criterion Collection Blu-Ray of the 2021 documentary The Velvet Underground.  The definitive collection of the Velvet Underground's music is the sadly out-of-print box set Peel Slowly and See, which contains the four albums the group made with Reed in full, plus demos, outtakes, and live recordings. Note that the digital version of the album as sold by Amazon for some reason doesn't include the last disc -- if you want the full box set you have to buy a physical copy. All four studio albums have also been released and rereleased many times over in different configurations with different numbers of CDs at different price points -- I have used the "45th Anniversary Super-Deluxe" versions for this episode, but for most people the standard CD versions will be fine. Sadly there are no good shorter compilation overviews of the group -- they tend to emphasise either the group's "pop" mode or its "avant-garde" mode to the exclusion of the other. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I begin this episode, there are a few things to say. This introductory section is going to be longer than normal because, as you will hear, this episode is also going to be longer than normal. Firstly, I try to warn people about potentially upsetting material in these episodes. But this is the first episode for 1968, and as you will see there is a *profound* increase in the amount of upsetting and disturbing material covered as we go through 1968 and 1969. The story is going to be in a much darker place for the next twenty or thirty episodes. And this episode is no exception. As always, I try to deal with everything as sensitively as possible, but you should be aware that the list of warnings for this one is so long I am very likely to have missed some. Among the topics touched on in this episode are mental illness, drug addiction, gun violence, racism, societal and medical homophobia, medical mistreatment of mental illness, domestic abuse, rape, and more. If you find discussion of any of those subjects upsetting, you might want to read the transcript. Also, I use the term "queer" freely in this episode. In the past I have received some pushback for this, because of a belief among some that "queer" is a slur. The following explanation will seem redundant to many of my listeners, but as with many of the things I discuss in the podcast I am dealing with multiple different audiences with different levels of awareness and understanding of issues, so I'd like to beg those people's indulgence a moment. The term "queer" has certainly been used as a slur in the past, but so have terms like "lesbian", "gay", "homosexual" and others. In all those cases, the term has gone from a term used as a self-identifier, to a slur, to a reclaimed slur, and back again many times. The reason for using that word, specifically, here is because the vast majority of people in this story have sexualities or genders that don't match the societal norms of their times, but used labels for themselves that have shifted in meaning over the years. There are at least two men in the story, for example, who are now dead and referred to themselves as "homosexual", but were in multiple long-term sexually-active relationships with women. Would those men now refer to themselves as "bisexual" or "pansexual" -- terms not in widespread use at the time -- or would they, in the relatively more tolerant society we live in now, only have been in same-gender relationships? We can't know. But in our current context using the word "homosexual" for those men would lead to incorrect assumptions about their behaviour. The labels people use change over time, and the definitions of them blur and shift. I have discussed this issue with many, many, friends who fall under the queer umbrella, and while not all of them are comfortable with "queer" as a personal label because of how it's been used against them in the past, there is near-unanimity from them that it's the correct word to use in this situation. Anyway, now that that rather lengthy set of disclaimers is over, let's get into the story proper, as we look at "White Light, White Heat" by the Velvet Underground: [Excerpt: The Velvet Underground, "White Light, White Heat"] And that look will start with... a disclaimer about length. This episode is going to be a long one. Not as long as episode one hundred and fifty, but almost certainly the longest episode I'll do this year, by some way. And there's a reason for that. One of the questions I've been asked repeatedly over the years about the podcast is why almost all the acts I've covered have been extremely commercially successful ones. "Where are the underground bands? The alternative bands? The little niche acts?" The answer to that is simple. Until the mid-sixties, the idea of an underground or alternative band made no sense at all in rock, pop, rock and roll, R&B, or soul. The idea would have been completely counterintuitive to the vast majority of the people we've discussed in the podcast. Those musics were commercial musics, made by people who wanted to make money and to  get the largest audiences possible. That doesn't mean that they had no artistic merit, or that there was no artistic intent behind them, but the artists making that music were *commercial* artists. They knew if they wanted to make another record, they had to sell enough copies of the last record for the record company to make another, and that if they wanted to keep eating, they had to draw enough of an audience to their gigs for promoters to keep booking them. There was no space in this worldview for what we might think of as cult success. If your record only sold a thousand copies, then you had failed in your goal, even if the thousand people who bought your record really loved it. Even less commercially successful artists we've covered to this point, like the Mothers of Invention or Love, were *trying* for commercial success, even if they made the decision not to compromise as much as others do. This started to change a tiny bit in the mid-sixties as the influence of jazz and folk in the US, and the British blues scene, started to be felt in rock music. But this influence, at first, was a one-way thing -- people who had been in the folk and jazz worlds deciding to modify their music to be more commercial. And that was followed by already massively commercial musicians, like the Beatles, taking on some of those influences and bringing their audience with them. But that started to change around the time that "rock" started to differentiate itself from "rock and roll" and "pop", in mid 1967. So in this episode and the next, we're going to look at two bands who in different ways provided a model for how to be an alternative band. Both of them still *wanted* commercial success, but neither achieved it, at least not at first and not in the conventional way. And both, when they started out, went by the name The Warlocks. But we have to take a rather circuitous route to get to this week's band, because we're now properly introducing a strand of music that has been there in the background for a while -- avant-garde art music. So before we go any further, let's have a listen to a thirty-second clip of the most famous piece of avant-garde music ever, and I'll be performing it myself: [Excerpt, Andrew Hickey "4'33 (Cage)"] Obviously that won't give the full effect, you have to listen to the whole piece to get that. That is of course a section of "4'33" by John Cage, a piece of music that is often incorrectly described as being four minutes and thirty three seconds of silence. As I've mentioned before, though, in the episode on "Papa's Got a Brand New Bag", it isn't that at all. The whole point of the piece is that there is no such thing as silence, and it's intended to make the listener appreciate all the normal ambient sounds as music, every bit as much as any piece by Bach or Beethoven. John Cage, the composer of "4'33", is possibly the single most influential avant-garde artist of the mid twentieth century, so as we're properly introducing the ideas of avant-garde music into the story here, we need to talk about him a little. Cage was, from an early age, torn between three great vocations, all of which in some fashion would shape his work for decades to come. One of these was architecture, and for a time he intended to become an architect. Another was the religious ministry, and he very seriously considered becoming a minister as a young man, and religion -- though not the religious faith of his youth -- was to be a massive factor in his work as he grew older. He started studying music from an early age, though he never had any facility as a performer -- though he did, when he discovered the work of Grieg, think that might change. He later said “For a while I played nothing else. I even imagined devoting my life to the performance of his works alone, for they did not seem to me to be too difficult, and I loved them.” [Excerpt: Grieg piano concerto in A minor] But he soon realised that he didn't have some of the basic skills that would be required to be a performer -- he never actually thought of himself as very musical -- and so he decided to move into composition, and he later talked about putting his musical limits to good use in being more inventive. From his very first pieces, Cage was trying to expand the definition of what a performance of a piece of music actually was. One of his friends, Harry Hay, who took part in the first documented performance of a piece by Cage, described how Cage's father, an inventor, had "devised a fluorescent light source over which Sample" -- Don Sample, Cage's boyfriend at the time -- "laid a piece of vellum painted with designs in oils. The blankets I was wearing were white, and a sort of lampshade shone coloured patterns onto me. It looked very good. The thing got so hot the designs began to run, but that only made it better.” Apparently the audience for this light show -- one that predated the light shows used by rock bands by a good thirty years -- were not impressed, though that may be more because the Santa Monica Women's Club in the early 1930s was not the vanguard of the avant-garde. Or maybe it was. Certainly the housewives of Santa Monica seemed more willing than one might expect to sign up for another of Cage's ideas. In 1933 he went door to door asking women if they would be interested in signing up to a lecture course from him on modern art and music. He told them that if they signed up for $2.50, he would give them ten lectures, and somewhere between twenty and forty of them signed up, even though, as he said later, “I explained to the housewives that I didn't know anything about either subject but that I was enthusiastic about both of them. I promised to learn faithfully enough about each subject so as to be able to give a talk an hour long each week.” And he did just that, going to the library every day and spending all week preparing an hour-long talk for them. History does not relate whether he ended these lectures by telling the housewives to tell just one friend about them. He said later “I came out of these lectures, with a devotion to the painting of Mondrian, on the one hand, and the music of Schoenberg on the other.” [Excerpt: Schoenberg, "Ode to Napoleon Buonaparte"] Schoenberg was one of the two most widely-respected composers in the world at that point, the other being Stravinsky, but the two had very different attitudes to composition. Schoenberg's great innovation was the creation and popularisation of the twelve-tone technique, and I should probably explain that a little before I go any further. Most Western music is based on an eight-note scale -- do, re, mi, fa, so, la, ti, do -- with the eighth note being an octave up from the first. So in the key of C major that would be C, D, E, F, G, A, B, C: [demonstrates] And when you hear notes from that scale, if your ears are accustomed to basically any Western music written before about 1920, or any Western popular music written since then, you expect the melody to lead back to C, and you know to expect that because it only uses those notes -- there are differing intervals between them, some having a tone between them and some having a semitone, and you recognise the pattern. But of course there are other notes between the notes of that scale. There are actually an infinite number of these, but in conventional Western music we only look at a few more -- C# (or D flat), D# (or E flat), F# (or G flat), G# (or A flat) and A# (or B flat). If you add in all those notes you get this: [demonstrates] There's no clear beginning or end, no do for it to come back to. And Schoenberg's great innovation, which he was only starting to promote widely around this time, was to insist that all twelve notes should be equal -- his melodies would use all twelve of the notes the exact same number of times, and so if he used say a B flat, he would have to use all eleven other notes before he used B flat again in the piece. This was a radical new idea, but Schoenberg had only started advancing it after first winning great acclaim for earlier pieces, like his "Three Pieces for Piano", a work which wasn't properly twelve-tone, but did try to do without the idea of having any one note be more important than any other: [Excerpt: Schoenberg, "Three Pieces for Piano"] At this point, that work had only been performed in the US by one performer, Richard Buhlig, and hadn't been released as a recording yet. Cage was so eager to hear it that he'd found Buhlig's phone number and called him, asking him to play the piece, but Buhlig put the phone down on him. Now he was doing these lectures, though, he had to do one on Schoenberg, and he wasn't a competent enough pianist to play Schoenberg's pieces himself, and there were still no recordings of them. Cage hitch-hiked from Santa Monica to LA, where Buhlig lived, to try to get him to come and visit his class and play some of Schoenberg's pieces for them. Buhlig wasn't in, and Cage hung around in his garden hoping for him to come back -- he pulled the leaves off a bough from one of Buhlig's trees, going "He'll come back, he won't come back, he'll come back..." and the leaves said he'd be back. Buhlig arrived back at midnight, and quite understandably told the strange twenty-one-year-old who'd spent twelve hours in his garden pulling the leaves off his trees that no, he would not come to Santa Monica and give a free performance. But he did agree that if Cage brought some of his own compositions he'd give them a look over. Buhlig started giving Cage some proper lessons in composition, although he stressed that he was a performer, not a composer. Around this time Cage wrote his Sonata for Clarinet: [Excerpt: John Cage, "Sonata For Clarinet"] Buhlig suggested that Cage send that to Henry Cowell, the composer we heard about in the episode on "Good Vibrations" who was friends with Lev Termen and who created music by playing the strings inside a piano: [Excerpt: Henry Cowell, "Aeolian Harp and Sinister Resonance"] Cowell offered to take Cage on as an assistant, in return for which Cowell would teach him for a semester, as would Adolph Weiss, a pupil of Schoenberg's. But the goal, which Cowell suggested, was always to have Cage study with Schoenberg himself. Schoenberg at first refused, saying that Cage couldn't afford his price, but eventually took Cage on as a student having been assured that he would devote his entire life to music -- a promise Cage kept. Cage started writing pieces for percussion, something that had been very rare up to that point -- only a handful of composers, most notably Edgard Varese, had written pieces for percussion alone, but Cage was: [Excerpt: John Cage, "Trio"] This is often portrayed as a break from the ideals of his teacher Schoenberg, but in fact there's a clear continuity there, once you see what Cage was taking from Schoenberg. Schoenberg's work is, in some senses, about equality, about all notes being equal. Or to put it another way, it's about fairness. About erasing arbitrary distinctions. What Cage was doing was erasing the arbitrary distinction between the more and less prominent instruments. Why should there be pieces for solo violin or string quartet, but not for multiple percussion players? That said, Schoenberg was not exactly the most encouraging of teachers. When Cage invited Schoenberg to go to a concert of Cage's percussion work, Schoenberg told him he was busy that night. When Cage offered to arrange another concert for a date Schoenberg wasn't busy, the reply came "No, I will not be free at any time". Despite this, Cage later said “Schoenberg was a magnificent teacher, who always gave the impression that he was putting us in touch with musical principles,” and said "I literally worshipped him" -- a strong statement from someone who took religious matters as seriously as Cage. Cage was so devoted to Schoenberg's music that when a concert of music by Stravinsky was promoted as "music of the world's greatest living composer", Cage stormed into the promoter's office angrily, confronting the promoter and making it very clear that such things should not be said in the city where Schoenberg lived. Schoenberg clearly didn't think much of Cage's attempts at composition, thinking -- correctly -- that Cage had no ear for harmony. And his reportedly aggressive and confrontational teaching style didn't sit well with Cage -- though it seems very similar to a lot of the teaching techniques of the Zen masters he would later go on to respect. The two eventually parted ways, although Cage always spoke highly of Schoenberg. Schoenberg later gave Cage a compliment of sorts, when asked if any of his students had gone on to do anything interesting. At first he replied that none had, but then he mentioned Cage and said “Of course he's not a composer, but an inventor—of genius.” Cage was at this point very worried if there was any point to being a composer at all. He said later “I'd read Cowell's New Musical Resources and . . . The Theory of Rhythm. I had also read Chavez's Towards a New Music. Both works gave me the feeling that everything that was possible in music had already happened. So I thought I could never compose socially important music. Only if I could invent something new, then would I be useful to society. But that seemed unlikely then.” [Excerpt: John Cage, "Totem Ancestor"] Part of the solution came when he was asked to compose music for an abstract animation by the filmmaker Oskar Fischinger, and also to work as Fischinger's assistant when making the film. He was fascinated by the stop-motion process, and by the results of the film, which he described as "a beautiful film in which these squares, triangles and circles and other things moved and changed colour.” But more than that he was overwhelmed by a comment by Fischinger, who told him “Everything in the world has its own spirit, and this spirit becomes audible by setting it into vibration.” Cage later said “That set me on fire. He started me on a path of exploration of the world around me which has never stopped—of hitting and stretching and scraping and rubbing everything.” Cage now took his ideas further. His compositions for percussion had been about, if you like, giving the underdog a chance -- percussion was always in the background, why should it not be in the spotlight? Now he realised that there were other things getting excluded in conventional music -- the sounds that we characterise as noise. Why should composers work to exclude those sounds, but work to *include* other sounds? Surely that was... well, a little unfair? Eventually this would lead to pieces like his 1952 piece "Water Music", later expanded and retitled "Water Walk", which can be heard here in his 1959 appearance on the TV show "I've Got a Secret".  It's a piece for, amongst other things, a flowerpot full of flowers, a bathtub, a watering can, a pipe, a duck call, a blender full of ice cubes, and five unplugged radios: [Excerpt: John Cage "Water Walk"] As he was now avoiding pitch and harmony as organising principles for his music, he turned to time. But note -- not to rhythm. He said “There's none of this boom, boom, boom, business in my music . . . a measure is taken as a strict measure of time—not a one two three four—which I fill with various sounds.” He came up with a system he referred to as “micro-macrocosmic rhythmic structure,” what we would now call fractals, though that word hadn't yet been invented, where the structure of the whole piece was reflected in the smallest part of it. For a time he started moving away from the term music, preferring to refer to the "art of noise" or to "organised sound" -- though he later received a telegram from Edgard Varese, one of his musical heroes and one of the few other people writing works purely for percussion, asking him not to use that phrase, which Varese used for his own work. After meeting with Varese and his wife, he later became convinced that it was Varese's wife who had initiated the telegram, as she explained to Cage's wife "we didn't want your husband's work confused with my husband's work, any more than you'd want some . . . any artist's work confused with that of a cartoonist.” While there is a humour to Cage's work, I don't really hear much qualitative difference between a Cage piece like the one we just heard and a Varese piece like Ionisation: [Excerpt: Edgard Varese, "Ionisation"] But it was in 1952, the year of "Water Music" that John Cage made his two biggest impacts on the cultural world, though the full force of those impacts wasn't felt for some years. To understand Cage's 1952 work, you first have to understand that he had become heavily influenced by Zen, which at that time was very little known in the Western world. Indeed he had studied with Daisetsu Suzuki, who is credited with introducing Zen to the West, and said later “I didn't study music with just anybody; I studied with Schoenberg, I didn't study Zen with just anybody; I studied with Suzuki. I've always gone, insofar as I could, to the president of the company.” Cage's whole worldview was profoundly affected by Zen, but he was also naturally sympathetic to it, and his work after learning about Zen is mostly a continuation of trends we can already see. In particular, he became convinced that the point of music isn't to communicate anything between two people, rather its point is merely to be experienced. I'm far from an expert on Buddhism, but one way of thinking about its central lessons is that one should experience things as they are, experiencing the thing itself rather than one's thoughts or preconceptions about it. And so at Black Mountain college came Theatre Piece Number 1: [Excerpt: Edith Piaf, "La Vie En Rose" ] In this piece, Cage had set the audience on all sides, so they'd be facing each other. He stood on a stepladder, as colleagues danced in and around the audience, another colleague played the piano, two more took turns to stand on another stepladder to recite poetry, different films and slides were projected, seemingly at random, onto the walls, and the painter Robert Rauschenberg played scratchy Edith Piaf records on a wind-up gramophone. The audience were included in the performance, and it was meant to be experienced as a gestalt, as a whole, to be what we would now call an immersive experience. One of Cage's students around this time was the artist Allan Kaprow, and he would be inspired by Theatre Piece Number 1 to put on several similar events in the late fifties. Those events he called "happenings", because the point of them was that you were meant to experience an event as it was happening rather than bring preconceptions of form and structure to them. Those happenings were the inspiration for events like The 14 Hour Technicolor Dream, and the term "happening" became such an integral part of the counterculture that by 1967 there were comedy films being released about them, including one just called The Happening with a title track by the Supremes that made number one: [Excerpt: The Supremes, "The Happening"] Theatre Piece Number 1 was retrospectively considered the first happening, and as such its influence is incalculable. But one part I didn't mention about Theatre Piece Number 1 is that as well as Rauschenberg playing Edith Piaf's records, he also displayed some of his paintings. These paintings were totally white -- at a glance, they looked like blank canvases, but as one inspected them more clearly, it became apparent that Rauschenberg had painted them with white paint, with visible brushstrokes. These paintings, along with a visit to an anechoic chamber in which Cage discovered that even in total silence one can still hear one's own blood and nervous system, so will never experience total silence, were the final key to something Cage had been working towards -- if music had minimised percussion, and excluded noise, how much more had it excluded silence? As Cage said in 1958 “Curiously enough, the twelve-tone system has no zero in it.” And so came 4'33, the piece that we heard an excerpt of near the start of this episode. That piece was the something new he'd been looking for that could be useful to society. It took the sounds the audience could already hear, and without changing them even slightly gave them a new context and made the audience hear them as they were. Simply by saying "this is music", it caused the ambient noise to be perceived as music. This idea, of recontextualising existing material, was one that had already been done in the art world -- Marcel Duchamp, in 1917, had exhibited a urinal as a sculpture titled "Fountain" -- but even Duchamp had talked about his work as "everyday objects raised to the dignity of a work of art by the artist's act of choice". The artist was *raising* the object to art. What Cage was saying was "the object is already art". This was all massively influential to a young painter who had seen Cage give lectures many times, and while at art school had with friends prepared a piano in the same way Cage did for his own experimental compositions, dampening the strings with different objects. [Excerpt: Dana Gillespie, "Andy Warhol (live)"] Duchamp and Rauschenberg were both big influences on Andy Warhol, but he would say in the early sixties "John Cage is really so responsible for so much that's going on," and would for the rest of his life cite Cage as one of the two or three prime influences of his career. Warhol is a difficult figure to discuss, because his work is very intellectual but he was not very articulate -- which is one reason I've led up to him by discussing Cage in such detail, because Cage was always eager to talk at great length about the theoretical basis of his work, while Warhol would say very few words about anything at all. Probably the person who knew him best was his business partner and collaborator Paul Morrissey, and Morrissey's descriptions of Warhol have shaped my own view of his life, but it's very worth noting that Morrissey is an extremely right-wing moralist who wishes to see a Catholic theocracy imposed to do away with the scourges of sexual immorality, drug use, hedonism, and liberalism, so his view of Warhol, a queer drug using progressive whose worldview seems to have been totally opposed to Morrissey's in every way, might be a little distorted. Warhol came from an impoverished background, and so, as many people who grew up poor do, he was, throughout his life, very eager to make money. He studied art at university, and got decent but not exceptional grades -- he was a competent draughtsman, but not a great one, and most importantly as far as success in the art world goes he didn't have what is known as his own "line" -- with most successful artists, you can look at a handful of lines they've drawn and see something of their own personality in it. You couldn't with Warhol. His drawings looked like mediocre imitations of other people's work. Perfectly competent, but nothing that stood out. So Warhol came up with a technique to make his drawings stand out -- blotting. He would do a normal drawing, then go over it with a lot of wet ink. He'd lower a piece of paper on to the wet drawing, and the new paper would soak up the ink, and that second piece of paper would become the finished work. The lines would be fractured and smeared, broken in places where the ink didn't get picked up, and thick in others where it had pooled. With this mechanical process, Warhol had managed to create an individual style, and he became an extremely successful commercial artist. In the early 1950s photography was still seen as a somewhat low-class way of advertising things. If you wanted to sell to a rich audience, you needed to use drawings or paintings. By 1955 Warhol was making about twelve thousand dollars a year -- somewhere close to a hundred and thirty thousand a year in today's money -- drawing shoes for advertisements. He also had a sideline in doing record covers for people like Count Basie: [Excerpt: Count Basie, "Seventh Avenue Express"] For most of the 1950s he also tried to put on shows of his more serious artistic work -- often with homoerotic themes -- but to little success. The dominant art style of the time was the abstract expressionism of people like Jackson Pollock, whose art was visceral, emotional, and macho. The term "action paintings" which was coined for the work of people like Pollock, sums it up. This was manly art for manly men having manly emotions and expressing them loudly. It was very male and very straight, and even the gay artists who were prominent at the time tended to be very conformist and look down on anything they considered flamboyant or effeminate. Warhol was a rather effeminate, very reserved man, who strongly disliked showing his emotions, and whose tastes ran firmly to the camp. Camp as an aesthetic of finding joy in the flamboyant or trashy, as opposed to merely a descriptive term for men who behaved in a way considered effeminate, was only just starting to be codified at this time -- it wouldn't really become a fully-formed recognisable thing until Susan Sontag's essay "Notes on Camp" in 1964 -- but of course just because something hasn't been recognised doesn't mean it doesn't exist, and Warhol's aesthetic was always very camp, and in the 1950s in the US that was frowned upon even in gay culture, where the mainstream opinion was that the best way to acceptance was through assimilation. Abstract expressionism was all about expressing the self, and that was something Warhol never wanted to do -- in fact he made some pronouncements at times which suggested he didn't think of himself as *having* a self in the conventional sense. The combination of not wanting to express himself and of wanting to work more efficiently as a commercial artist led to some interesting results. For example, he was commissioned in 1957 to do a cover for an album by Moondog, the blind street musician whose name Alan Freed had once stolen: [Excerpt: Moondog, "Gloving It"] For that cover, Warhol got his mother, Julia Warhola, to just write out the liner notes for the album in her rather ornamental cursive script, and that became the front cover, leading to an award for graphic design going that year to "Andy Warhol's mother". (Incidentally, my copy of the current CD issue of that album, complete with Julia Warhola's cover, is put out by Pickwick Records...) But towards the end of the fifties, the work for commercial artists started to dry up. If you wanted to advertise shoes, now, you just took a photo of the shoes rather than get Andy Warhol to draw a picture of them. The money started to disappear, and Warhol started to panic. If there was no room for him in graphic design any more, he had to make his living in the fine arts, which he'd been totally unsuccessful in. But luckily for Warhol, there was a new movement that was starting to form -- Pop Art. Pop Art started in England, and had originally been intended, at least in part, as a critique of American consumerist capitalism. Pieces like "Just what is it that makes today's homes so different, so appealing?" by Richard Hamilton (who went on to design the Beatles' White Album cover) are collages of found images, almost all from American sources, recontextualised and juxtaposed in interesting ways, so a bodybuilder poses in a room that's taken from an advert in Ladies' Home Journal, while on the wall, instead of a painting, hangs a blown-up cover of a Jack Kirby romance comic. Pop Art changed slightly when it got taken up in America, and there it became something rather different, something closer to Duchamp, taking those found images and displaying them as art with no juxtaposition. Where Richard Hamilton created collage art which *showed* a comic cover by Jack Kirby as a painting in the background, Roy Lichtenstein would take a panel of comic art by Kirby, or Russ Heath or Irv Novick or a dozen other comic artists, and redraw it at the size of a normal painting. So Warhol took Cage's idea that the object is already art, and brought that into painting, starting by doing paintings of Campbell's soup cans, in which he tried as far as possible to make the cans look exactly like actual soup cans. The paintings were controversial, inciting fury in some and laughter in others and causing almost everyone to question whether they were art. Warhol would embrace an aesthetic in which things considered unimportant or trash or pop culture detritus were the greatest art of all. For example pretty much every profile of him written in the mid sixties talks about him obsessively playing "Sally Go Round the Roses", a girl-group single by the one-hit wonders the Jaynettes: [Excerpt: The Jaynettes, "Sally Go Round the Roses"] After his paintings of Campbell's soup cans, and some rather controversial but less commercially successful paintings of photographs of horrors and catastrophes taken from newspapers, Warhol abandoned painting in the conventional sense altogether, instead creating brightly coloured screen prints -- a form of stencilling -- based on photographs of celebrities like Elvis Presley, Elizabeth Taylor and, most famously, Marilyn Monroe. That way he could produce images which could be mass-produced, without his active involvement, and which supposedly had none of his personality in them, though of course his personality pervades the work anyway. He put on exhibitions of wooden boxes, silk-screen printed to look exactly like shipping cartons of Brillo pads. Images we see everywhere -- in newspapers, in supermarkets -- were art. And Warhol even briefly formed a band. The Druds were a garage band formed to play at a show at the Washington Gallery of Modern Art, the opening night of an exhibition that featured a silkscreen by Warhol of 210 identical bottles of Coca-Cola, as well as paintings by Rauschenberg and others. That opening night featured a happening by Claes Oldenburg, and a performance by Cage -- Cage gave a live lecture while three recordings of his own voice also played. The Druds were also meant to perform, but they fell apart after only a few rehearsals. Some recordings apparently exist, but they don't seem to circulate, but they'd be fascinating to hear as almost the entire band were non-musician artists like Warhol, Jasper Johns, and the sculptor Walter de Maria. Warhol said of the group “It didn't go too well, but if we had just stayed on it it would have been great.” On the other hand, the one actual musician in the group said “It was kind of ridiculous, so I quit after the second rehearsal". That musician was La Monte Young: [Excerpt: La Monte Young, "The Well-Tuned Piano"] That's an excerpt from what is generally considered Young's masterwork, "The Well-Tuned Piano". It's six and a half hours long. If Warhol is a difficult figure to write about, Young is almost impossible. He's a musician with a career stretching sixty years, who is arguably the most influential musician from the classical tradition in that time period. He's generally considered the father of minimalism, and he's also been called by Brian Eno "the daddy of us all" -- without Young you simply *do not* get art rock at all. Without Young there is no Velvet Underground, no David Bowie, no Eno, no New York punk scene, no Yoko Ono. Anywhere that the fine arts or conceptual art have intersected with popular music in the last fifty or more years has been influenced in one way or another by Young's work. BUT... he only rarely publishes his scores. He very, very rarely allows recordings of his work to be released -- there are four recordings on his bandcamp, plus a handful of recordings of his older, published, pieces, and very little else. He doesn't allow his music to be performed live without his supervision. There *are* bootleg recordings of his music, but even those are not easily obtainable -- Young is vigorous in enforcing his copyrights and issues takedown notices against anywhere that hosts them. So other than that handful of legitimately available recordings -- plus a recording by Young's Theater of Eternal Music, the legality of which is still disputed, and an off-air recording of a 1971 radio programme I've managed to track down, the only way to experience Young's music unless you're willing to travel to one of his rare live performances or installations is second-hand, by reading about it. Except that the one book that deals solely with Young and his music is not only a dense and difficult book to read, it's also one that Young vehemently disagreed with and considered extremely inaccurate, to the point he refused to allow permissions to quote his work in the book. Young did apparently prepare a list of corrections for the book, but he wouldn't tell the author what they were without payment. So please assume that anything I say about Young is wrong, but also accept that the short section of this episode about Young has required more work to *try* to get it right than pretty much anything else this year. Young's musical career actually started out in a relatively straightforward manner. He didn't grow up in the most loving of homes -- he's talked about his father beating him as a child because he had been told that young La Monte was clever -- but his father did buy him a saxophone and teach him the rudiments of the instrument, and as a child he was most influenced by the music of the big band saxophone player Jimmy Dorsey: [Excerpt: Jimmy Dorsey, “It's the Dreamer in Me”] The family, who were Mormon farmers, relocated several times in Young's childhood, from Idaho first to California and then to Utah, but everywhere they went La Monte seemed to find musical inspiration, whether from an uncle who had been part of the Kansas City jazz scene, a classmate who was a musical prodigy who had played with Perez Prado in his early teens, or a teacher who took the class to see a performance of Bartok's Concerto for Orchestra: [Excerpt: Bartok, "Concerto for Orchestra"] After leaving high school, Young went to Los Angeles City College to study music under Leonard Stein, who had been Schoenberg's assistant when Schoenberg had taught at UCLA, and there he became part of the thriving jazz scene based around Central Avenue, studying and performing with musicians like Ornette Coleman, Don Cherry, and Eric Dolphy -- Young once beat Dolphy in an audition for a place in the City College dance band, and the two would apparently substitute for each other on their regular gigs when one couldn't make it. During this time, Young's musical tastes became much more adventurous. He was a particular fan of the work of John Coltrane, and also got inspired by City of Glass, an album by Stan Kenton that attempted to combine jazz and modern classical music: [Excerpt: Stan Kenton's Innovations Orchestra, "City of Glass: The Structures"] His other major musical discovery in the mid-fifties was one we've talked about on several previous occasions -- the album Music of India, Morning and Evening Ragas by Ali Akhbar Khan: [Excerpt: Ali Akhbar Khan, "Rag Sindhi Bhairavi"] Young's music at this point was becoming increasingly modal, and equally influenced by the blues and Indian music. But he was also becoming interested in serialism. Serialism is an extension and generalisation of twelve-tone music, inspired by mathematical set theory. In serialism, you choose a set of musical elements -- in twelve-tone music that's the twelve notes in the twelve-tone scale, but it can also be a set of tonal relations, a chord, or any other set of elements. You then define all the possible ways you can permute those elements, a defined set of operations you can perform on them -- so you could play a scale forwards, play it backwards, play all the notes in the scale simultaneously, and so on. You then go through all the possible permutations, exactly once, and that's your piece of music. Young was particularly influenced by the works of Anton Webern, one of the earliest serialists: [Excerpt: Anton Webern, "Cantata number 1 for Soprano, Mixed Chorus, and Orchestra"] That piece we just heard, Webern's "Cantata number 1", was the subject of some of the earliest theoretical discussion of serialism, and in particular led to some discussion of the next step on from serialism. If serialism was all about going through every single permutation of a set, what if you *didn't* permute every element? There was a lot of discussion in the late fifties in music-theoretical circles about the idea of invariance. Normally in music, the interesting thing is what gets changed. To use a very simple example, you might change a melody from a major key to a minor one to make it sound sadder. What theorists at this point were starting to discuss is what happens if you leave something the same, but change the surrounding context, so the thing you *don't* vary sounds different because of the changed context. And going further, what if you don't change the context at all, and merely *imply* a changed context? These ideas were some of those which inspired Young's first major work, his Trio For Strings from 1958, a complex, palindromic, serial piece which is now credited as the first work of minimalism, because the notes in it change so infrequently: [Excerpt: La Monte Young, "Trio for Strings"] Though I should point out that Young never considers his works truly finished, and constantly rewrites them, and what we just heard is an excerpt from the only recording of the trio ever officially released, which is of the 2015 version. So I can't state for certain how close what we just heard is to the piece he wrote in 1958, except that it sounds very like the written descriptions of it I've read. After writing the Trio For Strings, Young moved to Germany to study with the modernist composer Karlheinz Stockhausen. While studying with Stockhausen, he became interested in the work of John Cage, and started up a correspondence with Cage. On his return to New York he studied with Cage and started writing pieces inspired by Cage, of which the most musical is probably Composition 1960 #7: [Excerpt: La Monte Young, "Composition 1960 #7"] The score for that piece is a stave on which is drawn a treble clef, the notes B and F#, and the words "To be held for a long Time". Other of his compositions from 1960 -- which are among the few of his compositions which have been published -- include composition 1960 #10 ("To Bob Morris"), the score for which is just the instruction "Draw a straight line and follow it.", and Piano Piece for David  Tudor #1, the score for which reads "Bring a bale of hay and a bucket of water onto the stage for the piano to eat and drink. The performer may then feed the piano or leave it to eat by itself. If the former, the piece is over after the piano has been fed. If the latter, it is over after the piano eats or decides not to". Most of these compositions were performed as part of a loose New York art collective called Fluxus, all of whom were influenced by Cage and the Dadaists. This collective, led by George Maciunas, sometimes involved Cage himself, but also involved people like Henry Flynt, the inventor of conceptual art, who later became a campaigner against art itself, and who also much to Young's bemusement abandoned abstract music in the mid-sixties to form a garage band with Walter de Maria (who had played drums with the Druds): [Excerpt: Henry Flynt and the Insurrections, "I Don't Wanna"] Much of Young's work was performed at Fluxus concerts given in a New York loft belonging to another member of the collective, Yoko Ono, who co-curated the concerts with Young. One of Ono's mid-sixties pieces, her "Four Pieces for Orchestra" is dedicated to Young, and consists of such instructions as "Count all the stars of that night by heart. The piece ends when all the orchestra members finish counting the stars, or when it dawns. This can be done with windows instead of stars." But while these conceptual ideas remained a huge part of Young's thinking, he soon became interested in two other ideas. The first was the idea of just intonation -- tuning instruments and voices to perfect harmonics, rather than using the subtly-off tuning that is used in Western music. I'm sure I've explained that before in a previous episode, but to put it simply when you're tuning an instrument with fixed pitches like a piano, you have a choice -- you can either tune it so that the notes in one key are perfectly in tune with each other, but then when you change key things go very out of tune, or you can choose to make *everything* a tiny bit, almost unnoticeably, out of tune, but equally so. For the last several hundred years, musicians as a community have chosen the latter course, which was among other things promoted by Bach's Well-Tempered Clavier, a collection of compositions which shows how the different keys work together: [Excerpt: Bach (Glenn Gould), "The Well-Tempered Clavier, Book II: Fugue in F-sharp minor, BWV 883"] Young, by contrast, has his own esoteric tuning system, which he uses in his own work The Well-Tuned Piano: [Excerpt: La Monte Young, "The Well-Tuned Piano"] The other idea that Young took on was from Indian music, the idea of the drone. One of the four recordings of Young's music that is available from his Bandcamp, a 1982 recording titled The Tamburas of Pandit Pran Nath, consists of one hour, thirteen minutes, and fifty-eight seconds of this: [Excerpt: La Monte Young, "The Tamburas of Pandit Pran Nath"] Yes, I have listened to the whole piece. No, nothing else happens. The minimalist composer Terry Riley describes the recording as "a singularly rare contribution that far outshines any other attempts to capture this instrument in recorded media". In 1962, Young started writing pieces based on what he called the "dream chord", a chord consisting of a root, fourth, sharpened fourth, and fifth: [dream chord] That chord had already appeared in his Trio for Strings, but now it would become the focus of much of his work, in pieces like his 1962 piece The Second Dream of the High-Tension Line Stepdown Transformer, heard here in a 1982 revision: [Excerpt: La Monte Young, "The Second Dream of the High-Tension Line Stepdown Transformer"] That was part of a series of works titled The Four Dreams of China, and Young began to plan an installation work titled Dream House, which would eventually be created, and which currently exists in Tribeca, New York, where it's been in continuous "performance" for thirty years -- and which consists of thirty-two different pure sine wave tones all played continuously, plus purple lighting by Young's wife Marian Zazeela. But as an initial step towards creating this, Young formed a collective called Theatre of Eternal Music, which some of the members -- though never Young himself -- always claim also went by the alternative name The Dream Syndicate. According to John Cale, a member of the group, that name came about because the group tuned their instruments to the 60hz hum of the fridge in Young's apartment, which Cale called "the key of Western civilisation". According to Cale, that meant the fundamental of the chords they played was 10hz, the frequency of alpha waves when dreaming -- hence the name. The group initially consisted of Young, Zazeela, the photographer Billy Name, and percussionist Angus MacLise, but by this recording in 1964 the lineup was Young, Zazeela, MacLise, Tony Conrad and John Cale: [Excerpt: "Cale, Conrad, Maclise, Young, Zazeela - The Dream Syndicate 2 IV 64-4"] That recording, like any others that have leaked by the 1960s version of the Theatre of Eternal Music or Dream Syndicate, is of disputed legality, because Young and Zazeela claim to this day that what the group performed were La Monte Young's compositions, while the other two surviving members, Cale and Conrad, claim that their performances were improvisational collaborations and should be equally credited to all the members, and so there have been lawsuits and countersuits any time anyone has released the recordings. John Cale, the youngest member of the group, was also the only one who wasn't American. He'd been born in Wales in 1942, and had had the kind of childhood that, in retrospect, seems guaranteed to lead to eccentricity. He was the product of a mixed-language marriage -- his father, William, was an English speaker while his mother, Margaret, spoke Welsh, but the couple had moved in on their marriage with Margaret's mother, who insisted that only Welsh could be spoken in her house. William didn't speak Welsh, and while he eventually picked up the basics from spending all his life surrounded by Welsh-speakers, he refused on principle to capitulate to his mother-in-law, and so remained silent in the house. John, meanwhile, grew up a monolingual Welsh speaker, and didn't start to learn English until he went to school when he was seven, and so couldn't speak to his father until then even though they lived together. Young John was extremely unwell for most of his childhood, both physically -- he had bronchial problems for which he had to take a cough mixture that was largely opium to help him sleep at night -- and mentally. He was hospitalised when he was sixteen with what was at first thought to be meningitis, but turned out to be a psychosomatic condition, the result of what he has described as a nervous breakdown. That breakdown is probably connected to the fact that during his teenage years he was sexually assaulted by two adults in positions of authority -- a vicar and a music teacher -- and felt unable to talk to anyone about this. He was, though, a child prodigy and was playing viola with the National Youth Orchestra of Wales from the age of thirteen, and listening to music by Schoenberg, Webern, and Stravinsky. He was so talented a multi-instrumentalist that at school he was the only person other than one of the music teachers and the headmaster who was allowed to use the piano -- which led to a prank on his very last day at school. The headmaster would, on the last day, hit a low G on the piano to cue the assembly to stand up, and Cale had placed a comb on the string, muting it and stopping the note from sounding -- in much the same way that his near-namesake John Cage was "preparing" pianos for his own compositions in the USA. Cale went on to Goldsmith's College to study music and composition, under Humphrey Searle, one of Britain's greatest proponents of serialism who had himself studied under Webern. Cale's main instrument was the viola, but he insisted on also playing pieces written for the violin, because they required more technical skill. For his final exam he chose to play Hindemith's notoriously difficult Viola Sonata: [Excerpt: Hindemith Viola Sonata] While at Goldsmith's, Cale became friendly with Cornelius Cardew, a composer and cellist who had studied with Stockhausen and at the time was a great admirer of and advocate for the works of Cage and Young (though by the mid-seventies Cardew rejected their work as counter-revolutionary bourgeois imperialism). Through Cardew, Cale started to correspond with Cage, and with George Maciunas and other members of Fluxus. In July 1963, just after he'd finished his studies at Goldsmith's, Cale presented a festival there consisting of an afternoon and an evening show. These shows included the first British performances of several works including Cardew's Autumn '60 for Orchestra -- a piece in which the musicians were given blank staves on which to write whatever part they wanted to play, but a separate set of instructions in *how* to play the parts they'd written. Another piece Cale presented in its British premiere at that show was Cage's "Concerto for Piano and Orchestra": [Excerpt: John Cage, "Concerto for Piano and Orchestra"] In the evening show, they performed Two Pieces For String Quartet by George Brecht (in which the musicians polish their instruments with dusters, making scraping sounds as they clean them),  and two new pieces by Cale, one of which involved a plant being put on the stage, and then the performer, Robin Page, screaming from the balcony at the plant that it would die, then running down, through the audience, and onto the stage, screaming abuse and threats at the plant. The final piece in the show was a performance by Cale (the first one in Britain) of La Monte Young's "X For Henry Flynt". For this piece, Cale put his hands together and then smashed both his arms onto the keyboard as hard as he could, over and over. After five minutes some of the audience stormed the stage and tried to drag the piano away from him. Cale followed the piano on his knees, continuing to bang the keys, and eventually the audience gave up in defeat and Cale the performer won. After this Cale moved to the USA, to further study composition, this time with Iannis Xenakis, the modernist composer who had also taught Mickey Baker orchestration after Baker left Mickey and Sylvia, and who composed such works as "Orient Occident": [Excerpt: Iannis Xenakis, "Orient Occident"] Cale had been recommended to Xenakis as a student by Aaron Copland, who thought the young man was probably a genius. But Cale's musical ambitions were rather too great for Tanglewood, Massachusetts -- he discovered that the institute had eighty-eight pianos, the same number as there are keys on a piano keyboard, and thought it would be great if for a piece he could take all eighty-eight pianos, put them all on different boats, sail the boats out onto a lake, and have eighty-eight different musicians each play one note on each piano, while the boats sank with the pianos on board. For some reason, Cale wasn't allowed to perform this composition, and instead had to make do with one where he pulled an axe out of a single piano and slammed it down on a table. Hardly the same, I'm sure you'll agree. From Tanglewood, Cale moved on to New York, where he soon became part of the artistic circles surrounding John Cage and La Monte Young. It was at this time that he joined Young's Theatre of Eternal Music, and also took part in a performance with Cage that would get Cale his first television exposure: [Excerpt: John Cale playing Erik Satie's "Vexations" on "I've Got a Secret"] That's Cale playing through "Vexations", a piece by Erik Satie that wasn't published until after Satie's death, and that remained in obscurity until Cage popularised -- if that's the word -- the piece. The piece, which Cage had found while studying Satie's notes, seems to be written as an exercise and has the inscription (in French) "In order to play the motif 840 times in succession, it would be advisable to prepare oneself beforehand, and in the deepest silence, by serious immobilities." Cage interpreted that, possibly correctly, as an instruction that the piece should be played eight hundred and forty times straight through, and so he put together a performance of the piece, the first one ever, by a group he called the Pocket Theatre Piano Relay Team, which included Cage himself, Cale, Joshua Rifkin, and several other notable musical figures, who took it in turns playing the piece. For that performance, which ended up lasting eighteen hours, there was an entry fee of five dollars, and there was a time-clock in the lobby. Audience members punched in and punched out, and got a refund of five cents for every twenty minutes they'd spent listening to the music. Supposedly, at the end, one audience member yelled "Encore!" A week later, Cale appeared on "I've Got a Secret", a popular game-show in which celebrities tried to guess people's secrets (and which is where that performance of Cage's "Water Walk" we heard earlier comes from): [Excerpt: John Cale on I've Got a Secret] For a while, Cale lived with a friend of La Monte Young's, Terry Jennings, before moving in to a flat with Tony Conrad, one of the other members of the Theatre of Eternal Music. Angus MacLise lived in another flat in the same building. As there was not much money to be made in avant-garde music, Cale also worked in a bookshop -- a job Cage had found him -- and had a sideline in dealing drugs. But rents were so cheap at this time that Cale and Conrad only had to work part-time, and could spend much of their time working on the music they were making with Young. Both were string players -- Conrad violin, Cale viola -- and they soon modified their instruments. Conrad merely attached pickups to his so it could be amplified, but Cale went much further. He filed down the viola's bridge so he could play three strings at once, and he replaced the normal viola strings with thicker, heavier, guitar and mandolin strings. This created a sound so loud that it sounded like a distorted electric guitar -- though in late 1963 and early 1964 there were very few people who even knew what a distorted guitar sounded like. Cale and Conrad were also starting to become interested in rock and roll music, to which neither of them had previously paid much attention, because John Cage's music had taught them to listen for music in sounds they previously dismissed. In particular, Cale became fascinated with the harmonies of the Everly Brothers, hearing in them the same just intonation that Young advocated for: [Excerpt: The Everly Brothers, "All I Have to Do is Dream"] And it was with this newfound interest in rock and roll that Cale and Conrad suddenly found themselves members of a manufactured pop band. The two men had been invited to a party on the Lower East Side, and there they'd been introduced to Terry Phillips of Pickwick Records. Phillips had seen their long hair and asked if they were musicians, so they'd answered "yes". He asked if they were in a band, and they said yes. He asked if that band had a drummer, and again they said yes. By this point they realised that he had assumed they were rock guitarists, rather than experimental avant-garde string players, but they decided to play along and see where this was going. Phillips told them that if they brought along their drummer to Pickwick's studios the next day, he had a job for them. The two of them went along with Walter de Maria, who did play the drums a little in between his conceptual art work, and there they were played a record: [Excerpt: The Primitives, "The Ostrich"] It was explained to them that Pickwick made knock-off records -- soundalikes of big hits, and their own records in the style of those hits, all played by a bunch of session musicians and put out under different band names. This one, by "the Primitives", they thought had a shot at being an actual hit, even though it was a dance-craze song about a dance where one partner lays on the floor and the other stamps on their head. But if it was going to be a hit, they needed an actual band to go out and perform it, backing the singer. How would Cale, Conrad, and de Maria like to be three quarters of the Primitives? It sounded fun, but of course they weren't actually guitarists. But as it turned out, that wasn't going to be a problem. They were told that the guitars on the track had all been tuned to one note -- not even to an open chord, like we talked about Steve Cropper doing last episode, but all the strings to one note. Cale and Conrad were astonished -- that was exactly the kind of thing they'd been doing in their drone experiments with La Monte Young. Who was this person who was independently inventing the most advanced ideas in experimental music but applying them to pop songs? And that was how they met Lou Reed: [Excerpt: The Primitives, "The Ostrich"] Where Cale and Conrad were avant-gardeists who had only just started paying attention to rock and roll music, rock and roll was in Lou Reed's blood, but there were a few striking similarities between him and Cale, even though at a glance their backgrounds could not have seemed more different. Reed had been brought up in a comfortably middle-class home in Long Island, but despised the suburban conformity that surrounded him from a very early age, and by his teens was starting to rebel against it very strongly. According to one classmate “Lou was always more advanced than the rest of us. The drinking age was eighteen back then, so we all started drinking at around sixteen. We were drinking quarts of beer, but Lou was smoking joints. He didn't do that in front of many people, but I knew he was doing it. While we were looking at girls in Playboy, Lou was reading Story of O. He was reading the Marquis de Sade, stuff that I wouldn't even have thought about or known how to find.” But one way in which Reed was a typical teenager of the period was his love for rock and roll, especially doo-wop. He'd got himself a guitar, but only had one lesson -- according to the story he would tell on numerous occasions, he turned up with a copy of "Blue Suede Shoes" and told the teacher he only wanted to know how to play the chords for that, and he'd work out the rest himself. Reed and two schoolfriends, Alan Walters and Phil Harris, put together a doo-wop trio they called The Shades, because they wore sunglasses, and a neighbour introduced them to Bob Shad, who had been an A&R man for Mercury Records and was starting his own new label. He renamed them the Jades and took them into the studio with some of the best New York session players, and at fourteen years old Lou Reed was writing songs and singing them backed by Mickey Baker and King Curtis: [Excerpt: The Jades, "Leave Her For Me"] Sadly the Jades' single was a flop -- the closest it came to success was being played on Murray the K's radio show, but on a day when Murray the K was off ill and someone else was filling in for him, much to Reed's disappointment. Phil Harris, the lead singer of the group, got to record some solo sessions after that, but the Jades split up and it would be several years before Reed made any more records. Partly this was because of Reed's mental health, and here's where things get disputed and rather messy. What we know is that in his late teens, just after he'd gone off to New

In this episode, Sara tries to discern what your favorite candy says about you. She's a bit biased though, and that may or may not show.

You KNOW we have opinions on everything from "Lola" to "Walk On The Wild Side" to "Dude Looks Like A Lady". The good, the bad, and the strange.  And this is just part one!! Links galore: Jasper the Colossal Markers and Beer live version. It slaps.      Make famous friends by cultivating fandoms for less- famous people. Faith admires awesome YouTuber Lindsey Ellis -- and she reteweeted one of Faith's dog pics!  Lake Baikal is a super deep lake. Terrifyingly deep. SNL Ashlee Simpson debacle.   Okay, music! In this ep, we discussed: Aerosmith's Dude Looks Like A Lady. Faith's judgment: Not a good song. Here's a picture of Vince Neil of Mötley Crüe (not Poison; apologies to both Mr. Crüe and Mr. Poison), for reference.  Hair metal, for reference including two cool lists of Top 10 Best and Bottom 5 Worst Hair Metal Bands.   The Kinks Lola. Faith's judgment: Good song but not on her mix or karaoke list. Lou Reed and the Velvet Underground Take a Walk on the Wild Side (Faith's judgment: good song and not on her karaoke list) and Candy Says (Faith's judgment: same-- good song and not on her karaoke list)    Learn about: Candy Darling ! Andy Warhol's Factory ! Joe Delassandro !   The Community commercial where they say "meet different people!"     Many familiar crabs are of the genus Cancer   Suzanne Vega As Girls Go.  Faith's judgment: not a good song. Matt Baum's Culture Cruise on YouTube talks about the representation of gays in TV and movies.  Madonna's What It Feels Like For A Girl. Faith's judgment: a good song.    Garbage Cherry Lips (Go Baby Go),  Androgyny, and Bleed Like Me . Faith's judgment: 100% awesome songs.  Bonus is their cover of Candy Says that's also spectacular. The JT Leroy literary hoax    Buy Faith's book! It's the mid 1990s, and a high school guy in Georgia is grappling with his queerness, his faith, his friends, and his future in Disgusta by Faith DaBrooke. Support us on Patreon to help us keep making great content, and to get some cool rewards! Check out our website for our latest episodes!      

LIVE: Sunday, May 29 2022 @ 9PM CST Gun control, news and #libremusic. Wikipedia News: May 23-29, 2022 Related Links I Know Who The U.S. Will Coup Next! [News + Comedy] | Rumble The Supreme Court's Worst Decision of My Tenure | The Atlantic Muqtada al-Sadr | Wikipedia Windrush scandal caused by ‘30 years of racist immigration laws' – report | The Guardian Robb Elementary School shooting | Wikipedia AMLO pide liberar a Julian Assange y le ofrece asilo en México | YouTube Musical Interludes: "Death Rides a Bike" by Arroyo Deathmatch from Through the Fear Of It (2014) [CC BY-NC-SA] "Lord's Mistake" by Candy Says from Not Kings (2014) [CC BY-SA] "North Station" by Dead Ellington from Rebuilder (2013) "Night Sky" by Gurdonark from Open Spaces (2012) [CC BY] "Gateway To the Real World" by Lisofv from Gateway to the Real World (2019) [CC BY-NC-ND] "Goin' Across the Sea" by new time country kitchen from Rest Stop Recordings (2011) [CC BY-NC-ND] "Out Of Touch" by Rebuilder from Rebuilder EP (2013) [CC BY-NC-ND] "Beautiful Paranoia" by Starfish Stories from DEKA (2012) [CC BY] "Lose Control" by The Thons from Hot Fun (2015) [CC BY-NC]

Thanks for checking out the What a Weird Week Podcast, a countdown of the Top Ten Weird Things in the News from the Week that was. This is episode 3.30 For Full Show Notes and Podcast Links see www.Shownotes.page BBC podcast about the war in Ukraine - if you want to understand what's happening there, it is a good way to get informed. It's called Ukrainecast (https://www.bbc.co.uk/programmes/p0bqztzm) ... Here's the Top Ten... ❿ What your favourite candy reveals about you... I like the idea of some sort of therapy where psychological test where they give you candy and then diagnose you... ❾ *Listener Warning - poop talk here... There's a sea creature that was discovered in the early 2000s... and it has finally been seen pooping. This is the first time anyone has gotten footage of the deed... ❽ The other day the Guinness Book of Records tweeted about this guy who can turn his tongue into a ball and it has the biggest circumference in the world... it should be called tonguecumference© ❼ This bears-wrestling-on-a-tampoline story... ❻ This story of tenacity... if no one listens to you, you can either stop talking, or refuse to be silenced!! Somebody unhappy with the noise at Dublin Airport refused to give up... and they filed over 12000 noise complaints last year alone! ❺ the new Taylor Swift bug ... ❹ the world's largest hockey stick is in Jeopardy because: woodpecker. ❸ M&Ms world record seems impossible to me... A guy just broke the World Record by stacking 7 M&Ms on top of one another. ❷ the puppy who finds gold...is not a Golden Retriever. #MissedOpportunity Honorable mention... Netflix lost subscribers, might crackdown on password-sharing, will be offering a plan with ads... everybody made a huge deal outta this one! ❶ After much debate, we decided to go with Grape Pop Tarts for Number One!! (Yes, we're controversial, but consistent.) Stream/Subscribe/See full stories and photos! see www.Shownotes.page --- Send in a voice message: https://anchor.fm/weirdweek/message

DJ Romero joins me again on Life Bytes today!Marvel fanatics, the official teaser for Thor: Love and Thunder is out and we can't get enough of Natalie Portman and how jacked she is. On the other side of getting jacked, Hershey is running a contest to win a lifetime supply of Reeses, and Jelly Belly put out a personality test based on the candy you consume. Also, Food and Wine Magazine is giving us cities you should look out for as the "next great food cities" in America. Have you ever been to any of these places? Plus so much more. Hit play and found out what we talked about.Get your copy of M. L. Farrell's book "How Much Can I See: A Novel in Essays Vol. I" in the Kindle store, available in paperback next week and audio in early June via Audible.

Female characters, whether real or fictional, are often at the center of great music. This week, hosts Jim DeRogatis and Greg Kot share some of their favorite songs named after women. They also hear selections from the production staff and bid farewell to “Why Can't We Live Together” singer Timmy Thomas. Plus, an interview with Ukrainian musician Serge Tiagnyriadno about his life making music in Kyiv amidst the Russian war in Ukraine. Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lURecord a Voice Memo: https://bit.ly/2RyD5Ah Featured Songs:Patti Smith, "Gloria," Horses, Arista, 1975Shocking Blue, "Venus," At Home, Pink Elephant, 1969Laura Branigan, "Gloria," Branigan, Atlantic, 1982Seeing Double, "Leah," Leah//Don't Wait (Single), Cesar Dawg, 2022First Aid Kit, "Emmylou," The Lion's Roar, Redeye, 2012Roxanne Shanté, "Roxanne's Revenge," Roxanne's Revenge (Single), Warner Bros., 1984Dolly Parton, "Jolene," Jolene, RCA Victor, 1974Lyres, "Help You Anne," On Fyre, Ace of Hearts, 1984De La Soul, "Millie Pulled a Pistol on Santa," De La Soul Is Dead, Tommy Boy, 1991The Rolling Stones, "Angie," Goats Head Soup, Rolling Stones, 1973Brittany Howard, "Georgia," Jaime, ATO, 2019Unrest, "Cath Carroll," Perfect Teeth, 4AD, 1993The Magnetic Fields, "Josephine," Distant Plastic Trees, PoPuP, 1991Material Issue, "Valerie Loves Me," International Pop Overthrow, Mercury, 1991The Velvet Underground, "Candy Says," The Velvet Underground, Verve, 1969Outkast, "Rosa Parks (Radio Version)," Aquemini, LaFace, 1998Timmy Thomas, "Why Can't We Live Together," Why Can't We Live Together, Glades, 1972Wilco, "Jesus, Etc.," Yankee Hotel Foxtrot, Nonesuch, 2001

Dear Listener, Happy spooky season! I'm going solo in today's episode to have a fun, lighthearted conversation about the deliciousness that is Halloween candy. Not only am I taking guesses about what your favorite candy says about you...but I'm also ranking my top five candies based on their slogans. Think you can guess the candies that belong to each slogan? We shall see! I'll be back next week with another guest episode. But until then, wishing you a fun and safe Halloween

I betragtning af, hvor stor en plads The Velvet Underground fylder i værternes hjerter, bevidsthed og generelle æstetik – ja, de har sågar sammen redigeret en antologi om bandet i 2003 – er det egentlig utroligt, at vi skulle helt frem til Rockhistorier nummer 154 før de fandt vejr gennem nåleøjet. Nå, men bedre sent end aldrig, som man plejer at sige, når man har overskredet endnu en deadline.The Velvet Underground udsendte i årene 1967 til 1970 i diverse konstellationer og under stort set konstante interne stridigheder fire album, der ikke gjorde større væsen af sig i samtiden, da deres konfronterende tone og nihilistiske attitude var helt ude af trit med hippiebevægelsens idealer. Gruppen blev først for alvor kanoniseret ved punkens fremkomst midt i 1970'erne, og har siden vist sig at være et af rockens mest stilskabende orkestre nogensinde. Måske kun overgået af The Beatles. Store ord, javel, men værket kan i den grad bære det. Og lidt til. Velkommen til virkeligheden.”Prominet Men” (1965”All Tomorrow's Parties (single version)” (1966)“I'm Waiting for The Man” (1967)“Venus In Furs” (1967)“Heroin” (1967)“White Light/White Heat” (1968)“I Heard Her Call My Name” (1968)“Stephanie Says” (1968)”Hey Mr. Rain (Version One)” (1968)”Candy Says” (1969)“What Goes On” (1969)“Pale Blue Eyes” (1969)“Foggy Notion” (1969)”Sweet Jane” (1970)”Rock and Roll” (1970)“New Age” (1970)

I tell you about My Make-over party with Candy featuring songs by the Velvet Underground and David Bowie. I do get emotional because this topic touches My heart. I also along with my shout outs I thank My friend @SparksxTiny, the fabulous author Tiny Sparks, for featuring Me in her last newsletter so you better Subscribe! https://landing.mailerlite.com/webforms/landing/f7o1s4?s=09 --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/victory-von-stryker/support

This week on the podcast, from Little Fish and Candy Says to electro avant-pop producer, Dave's joined by Julia-Sophie! Plus ex-Stornoway drummer Rob Steadman tells us about his new band Kritters and there's a whole bunch of first plays from exciting new musicians in Oxfordshire! Here's the full track list: • BE GOOD -Young Strangers YOURBOYWONDER - Different LZYBY - Baby Bird Kritters - Ride Maxx Palmer - Supermarket Creep THEO - Jealous Zeta Sky - Never Static Deep Field - City Lights Julia-Sophie - I Wish Julia Faulks - Not Losing Sleep • If you're making music in Oxfordshire, send us your music with the BBC Introducing Uploader: https://www.bbc.co.uk/introducing/uploader

Frank has a whole bunch of ideas, which he’s eager to share. This week’s musical guest is the great Julia-Sophie, formerly of Little Fish and Candy Says, who talks to Frank about her new solo EP. She also talks about the negative side of success, and the pressures of being signed to a major label. This episode features the songs x0x by Julia-Sophie, and Hummingbird by Candy Says. More information:https://juliasophie.bandcamp.com/https://candysays.bandcamp.com/https://music.littlefishmusic.com/ Frank’s website: www.frankburton.co.ukFrank’s email: fjb79@hotmail.com Other music this week:Steven Padin – Continues: https://stevenpadin.bandcamp.com/Gregorio Franco - The Pit: https://gregoriofranco.bandcamp.com/Theme tune: ProleteR - April Showers: https://proleter.bandcamp.com See acast.com/privacy for privacy and opt-out information.

Ever wonder what your favorite candy says about you when you're not around? Oh wait, I read that wrong. You told us your favorite candy, now hear our take on what your preferences say about who you are. Is Reese's an Easter candy? Does an affinity for 100 Grands make you richer? And what about all those Easter Nerds? All this and more on this week's episode. --- Send in a voice message: https://anchor.fm/lukespodcast/message Support this podcast: https://anchor.fm/lukespodcast/support

An epic battle begins between Candy Cane and Queenie, all set to the sounds of Italo-disco pioneer Mr. Flagio's 1983 hit, Take A Chance.

This week, as Introducing Live 2019 takes over with a live broadcast from Tobacco Dock, it's a podcast only show from us! Dave catches up with Beanie Tapes co-founder and Candy Says singer Julia Walker at Ritual Union, plus there's an excellent selection of atmospheric tracks to soundtrack your Autumn evenings, including: Max Blansjaar – Marble Arch Theo – Morning Glory Cameron AG – Headlights Purdy – Lovin’ Man (feat Pilgrims’ Dream) Death of the Maiden – Waiting for You Dolly Mavies – Reflection Charlie Cunningham – Don’t Go Far Wednesday’s Wolves – Beast Julia Meijer – En Liten Fage MORROW– He Knows Tiece – Ghost Town The Deadbeat Apostles – Can’t Stop the Rain Izzy Frances – You Lost the War Waiting for Smith – Meditation Solomon Grey - Forties

This week the podcast, Dave's joined for a live session and chat with Max Blansjaar, plus there's tracks from Bjerglund & Kova, Waterfools, Candy Says, Despicable Zee, Mother, Purdy, Lacuna Common, Great Western Tears and Jay Sunaway. Watch the full video of Max in session here: Facebook https://www.facebook.com/bbcintroducinginoxford/videos/247662649492245 Youtube https://www.youtube.com/watch?v=ZbPgVYyMHMY

RIP........................................................................ by tony justerini http://www.filefactory.com/file/61qf4kt4517n/Rip.mp3 01. Morrissey – Every Day Is Like Sunday, Viva Hate, 1988 02. John Cale & Bob Neuwirth - Ocean Life, Last Day On Earth, 1994 03. Lou Reed & John Cale – Open House, Songs For Drella, 1990 04. Nico – Femme Fatale, Heroine, 1983 05. Cowboy Junkies – Sweet Jane, The Trinity Session, 1988 06. Laurie Anderson - Transitory Life, Homeland, 2010 07. The Velvet Underground – Candy Says, The Velvet Underground, 1969 08. John Cale & Brian Eno – Spinning Away, Wrong Way Up, 1990 09. Lou Reed - Sad Song Intro, Berlin, 1973 10. Lou Reed - Sad Song, Berlin, 1973 11. Iggy Pop - Shades, Blah-Blah-Blah, 1986 12. David Bowie – Subterraneans, Low, 1977 13. John Cale – Riverbank, Honi Soit, 1981 14. David Bowie – Moss Garden, Heroes, 1977 15. John Cale – Rosegarden/Femme Fatale, Sabotage Live, 1979 16. Lou Reed – Vicious Circle, Rock And Roll Heart, 1976 17. The Velvet Underground – Coyote, Live MCMXCIII, 1993 total time: 01:20:00 Photo by Rivera http://radioetiopia.phase108.net/ https://instagram.com/radioetiopia/ https://radiolisboa.pt/ www.radioetiopia.com

Dave's joined by Lohrd Snohw and Stateline Radio for their first plays on the show, Nightshift Editor Ronan Munro recommends Candy Says, plus there's tunes from Ideal Marriage, Brickwork Lizards, Waterfahl, Brite Spires, YK and Moogieman.

This week on the podcast, Dave's joined by Despicable Zee for chat and live session. Plus, there's first plays with Flyboy Jetty, Firegazer and Sabine and new music from Jack Goldstein, Candy Says, Peerless Pirates and Sam Martin.

This week Dave's joined by Lake Acacia for a chat about their new single, plus there's first plays from Lewis Branch and Daze and music from Turan, Hattie Briggs, Dantevilles, Stornoway and Candy Says.

2019 March Tranc-Itions (the Running up that Hill Set)   “Do you want to feel how it feels? Do you want to hear about the deal that I'm making? You, it's you and me. And if I only could, I'd make a deal with God, And I'd get him to swap our places, Be running up that road, Be running up that hill…”   Classic Vocal Trance anthems because I needed it.   Life still non-linear and sometimes only trance will heal. Nothing particularly original but a few new cuts of old anthems and by far the best Rapture medley I have put together.   I had a few lighter ones already uploaded in late 2018 but could not get myself to press the publish button. This one better reflects the current mood.   Playlist:   2019 Running Up That Hill (Original Single Mix). Candy Says, Marc Canham2015 Running Up That Hill (Original Mix) [Xtian Forward Edit]. Tiefenrausch2018 Gorecki (Extended Mix). Chicane2014 The Return of Wolfy (Original Mix) [Xtian House Goota Have Edit]. Mark Knight2019 Saltwater (Sunrise Mix). Chicane ft. Moya Brennan2018 Saltwater (Jody Wisternoff Remix vs Paul Ricon 2009 Remix). Chicane2015 Saltwater (Extended Mix) [Xtian Edit]. Mike Candys, Jack Holiday2007 Better Off Alone (Original Mix). CJ Stone, DJ Tatana2011 Better Off Alone (Club Mix). Criminal Vibes1997 Silence (Niels Van Gogh Vs. Thomas Gold Remix) [Xtian Edit]. Delerium ft Sarah McLachlan2018 Greece 2000 (Original Mix) [Xtian Delirious Edit]. Cya2009 For an Angel 2009 (In Petto Remix) [Xtian Ibiza Edit]. Paul Van Dyk2017 Destiny (Original Mix). Markus Schulz, Delacey2017 Rapture (Dim2Play & Techcrasher Remix vs Elis M. Feeling Mix). Mary Irene, Andrey Exx, Elis M. Feeling, Mary Irene, DiM2Play, Techcrasher             2017 Rapture (Sharapov Remix). Andrey Exx, Elis M., Mary Irene, Sharapov2010 Rapture (Avicii New Generation Extended Mix). Nadia Ali2017 Montage (Mitiska Extended Signature Mix). Late Night Alumni2005 Empty Streets (Carl Hanaghan & Ted Nilsson Remix). Late Night Alumni2018 My Own Hymn (Original Mix) [Xtian Trance Edit] Above & Beyond, Zoe Johnson2016 Counting Down the Days (Denis Lightman Remix). hearthis.at. Denis Lightman ft Gemma Hayes2015 Counting Down the Days (Club Mix) [Xtian Ibiza Mash]. Above & Beyond, Gemma Hayes2000 Tell Me Why (The Riddle) (PvD Club Mix). Paul van Dyk ft. St. Etienne2018 9PM TILL I COME - (DJ Eric DSilva Bootleg Mix Preview) (hearthis.at). ATB, Eric DSilva1999 9PM (Till I Come) (Single Cut). ATB2019 Need to Feel Loved (Extended Mix). Cosmic Gate, Foret2003 Take Me Away (Dennis De Laat Mix). 4 Strings2018 Saltwater (Sebastien Extended Remix). Chicane, Moya Brennan, Sebastien2016 Running Up That Hill (Original Mix). Steven Koll, Antony Master ft. Kelsey2017 Running Up That Hill (Extended Mix). Markus Schulz, Dakota, Bev Wild2018 Nirvana (Extended Swung Club Mix). Chicane, Rosalee O'Connell   Highlights: Do not miss the haunting reboot of "Running Up That Hill" by Candy says and Marc Canham. As for Chicane new remix of Saltwater courtesy of Paul Oakenfold Sotnehenge sets, I absolutely love it!   Will post pending sets soon but this one is the right fit for today.   A bientôt   Xtian

WILLARD GRANT CONSPIRACY. UNTETHERED – 4:20Untethered, Loose Music, 2018 THALIA ZEDEK. CANDY SAYS – 4:15You're A Big Girl Now, Acuarela, 2003 BOB DYLAN. YOU'RE A BIG GIRL NOW – 4:20Biograph, Columbia, 1985 LLOYD COLE. MOST OF THE TIME – 4:05Cleaning Out The Ashtrays (Collected B-Sides & Rarities 1989-2006), Tapete, 2009 KRIS KRISTOFFERSON. FOR THE GOOD […] Cet article Errance #117 : De Willard Grant Conspiracy à Arvo Pärt est apparu en premier sur Eldorado.

ballboy, Cloudkicker, Lowpines, Candy Says.

004 Carl Smithson of Truck Store Truck Store is Oxford’s independent music hub and record store, and is celebrating it’s 6th Birthday on Friday 10th February with in-store performances from Coldredlight and Candy Says. In this podcast episode I caught up with Truck Store Manager Carl Smithson and talked about the store’s history, Birthday, Oxford music and a large number of artists and musicians including: Austra Ags Connolly Ryan Adams Nathaniel Rateliff & The Nightsweats The National Emily Barker Charles Bradley Nick Waterhouse Candy Says Seasick Steve Stornoway The Epstein Unbelievable Truth Michael Kiwanuka Spring Offensive Frank Turner & The Sleeping Souls Glass Animals Foals www.truckmusicstore.co.uk/ www.facebook.com/truckstoreoxford/?fref=ts

THE VELVET UNDERGROUND. CANDY SAYS – 4:05The Velvet Underground, MGM, 1969 THALIA ZEDEK BAND. YOU'RE A BIG GIRL NOW – 4:50You're A Big Girl Now, Acuarela, 2003 BOB DYLAN. IF YOU SEE HER, SAY HELLO – 4:45Blood On The Tracks, Columbia, 1975 ROGER McGUINN. SOUL LOVE – 3:00Cardiff Rose, Sundazed, 2004 DAVID BOWIE. ROCK'N'ROLL SUICIDE […] Cet article Errance #80 : De The Velvet Underground à John Lennon est apparu en premier sur Eldorado.

1. Dan Deacon (USA) - "Sheathed wings" CD "Glass riffer" (Domino) 2. Zuby Nehty (Czech Rep.) - "Kusy" CD "Kusy" (Indies Scope) 3. Road to Music (India/Bangladesh) - "Bagmundi" CD "Folks of Bengal" (MusiCal) 4. Hospitality (USA) - "Going out" CD "Trouble" (Fire) 5. The Howl Ensemble (Holland) - "Cloud" CD "Prooi" (Katzwijm) 6. Gardens&Villa (USA) - "Everybody" CD "Music for dogs" (Secretly Canadian) 7. Candy Says (UK) - "Understand the night" CD "Not Kings" (Artist release) 8. Esquema Ap (Brazil) - "Pressagios" CD "O circulo de quases" (ESQ) 9. Amara Toure with Black&White (Guinea/Cameroun) - "Temedy" CD "1973-1980" (Analog Africa) 10. Wire (UK) - "Blogging" CD "Wire" (Pink flag) 11. Wire (UK) - "In Manchester" CD "Wire" (Pink flag) 12. Kalipo (Germany) - "Lux" CD "Yaruto" (Antime) 13. Walter TV (Canada) - "Walters Kaya" CD "Blessed" (Sinderlyn) 14. Click Here feat. Cecilia Fernandez (France/Spain) - "Vida" CD "Balcandalucia" (No fridge) 15. Ben Zimmerman (USA) - "Yellow daffodil (burning) against a grey sidewalk" CD "The Baltika years" (Software) 16. Digitalanalogue (UK) - "ID83846" CD "Be embraced, you millions!" (Song,by toad) Страница программы на оф. сайте Сообщество программы Вконтакте

Encetamos ciclo ourobórico en C'mmons baby! Abrimos unha serie de emisións que abriran co mesmo músico co que se pecha a emisión anterior.Entramentres, na España, hai novo rei, revalidado nun ciclo infinito coma un gif animado (duración: 25'15'').baixar mp3 / baixar oggLas Buenas Noches. Anti-nana (Hoy ya es mañana, LP 2014)Candy Says. Not kings (Not Kings, LP 2014)TV Girl. Daughter of a cop (French Exit, LP 2014)Xo. Tics (Dicionario de silencios, LP 2014)Ukulele Clan Band. More sugar (No sugar, LP 2014)Juani. Lo nuestro (La paz ciencia, LP 2013)Ligazóns relacionadas: Candy Says manifesto, Planeta X.

Glaswegian act Butcher Boy came to our attention in 2007, with the release of their first album "Profit in Your Poetry".It was a real treat, a excellently realised indie folk pop album, full of literate, heartfelt lyrics about wistful memories: it’s tender, organically produced sound drew favourable comparisons in my own mind: "Think early Belle and Sebastian haunted by a real past, the precise poetic pop of the Smiths tinged with a heavy Glaswegian sensibility. Think the tunes of Lloyd Cole and the Commotions matched to the intimacy of Arab Strap, most of all think wonderfully dark pop music, for nights out or those long dark midnights spent alone by your turntable, reading the inlay, and submersing yourself in the sound."They followed this up with the single "18th Emergency" later that year, a stately ballad it was like being allowed to read someone's secret diary entry, each line consumed with poetic heart tugging imagery that conjures up moments in time, lovers lost and real kitchen sink drama.Their new album "React or Die" is preceded by a single "Carve a Pattern" which you can download here(from the folks at Stereogum):Butcher Boy- Carve A PatternIt reflects a progression a more buffed up, musically expressive sound that still bares the emotional brevity, and bittersweet vocals at the heart of Butcher Boy. We caught up with their lead singer/lyricist John Blain Hunt (who is also the famed DJ behind the National Pop League nights) for an exclusive insight into each of the tracks that make up their second work "React Or Die."Butcher Boy's "React Or Die" Track By TrackWHEN I'M ASLEEPI wrote the main melody one Sunday night after watching The Dream Life of Angels on BBC2. Rue des Cascades by Yann Tiersen is over the closing credits, and the film has an incredibly savage and sad ending. I could barely speak the day after watching it. The final frame is still and calmbut it is heaving with regret. It's like a sob caught in your chest, grief.Originally, the song was a duet with a completely different vocal melody but when Maya joined the band I went back to it and worked on a stronger cello line, something to suit Maya's style of playing which is very confident and strident. The rest of the song fell into place around the cello. I watchedThe Dream Life of Angels again and I re-wrote the lyrics to read like a nursery rhyme.Basil plays ten mandolin tracks on three mandolins at the end. Brian, the engineer, said that the last "I never feel..." was a Leo Sayer moment, which I'm quite proud of.I love playing this live - it breathes and it feels very powerful.CARVE A PATTERNI bought a rattly old piano in 2003 and I came up with the melody for "Carve A Pattern" the day I got it - I don't think I ever wrote anything else on that piano. Butcher Boy aren't really a band for jamming but we used to rehearse this song a lot, just because it was such good fun to play. I'vegot a ten-minute long recording of us playing it in my old front room and by the end of the song we were hamming it up so much it's like the finale of a Broadway musical.This was always going to be the most pop song on the record - I wanted it to be really sharp and snappy. The last chord originally rang out for twenty seconds, like A Day In The Life, and there are lots of little nods to different songs I love in it. Brian said that the backing vocals in the chorus are like Satellite Of Love but I think they're more like Mr Sandmanby the Chordettes. They're both odd and unsettling songs though; either one is good enough for me.YOU'RE ONLY CRYING FOR YOURSELFI distinctly remember humming the melody for this one afternoon while we were recording our first record. There seemed to a big leap between the verse and the chorus melodies and I originally thought it could be a calland response song.This song was pieced together in the studio much more than the others. We ended up trying to lighten it a lot, as it had ended up sounding very ominous and serious. We swapped from upright piano to Rhodes and chopped out a lot of the strings.I used to see a man busking on saxophone around Glasgow a lot and, for a while, I harboured a fantasy I would ask him in to play some chops and then open up with a solo at the end. We never did it, but I maintain it would've worked! We had a whistle signalling the end section too, which was meant tobe a little nod to Felicity but we decided to cut it.We used Brian's Moog for the end section - the overall feel of the song was meant to be like Del Shannon's Runaway and we were trying to get close to that high organ sound.ANYTHING OTHER THAN KINDThis was, mostly, a really old song I wrote at the end of 1998 called Sugar Shock, but we changed a lot of the arrangement and the vocal melody and lyrics are different.I wrote it when I was living in Sheffield. I had the attic room and you could see for thirty miles out of the window - it was really magical. I used to write songs on an old keyboard called an ARP Quartet - it was very limited and unreliable but had a really beautiful, gentle piano tone. Everything came out sounding like it was recorded in the woods.I wrote the words to this sitting in Queens Park. The music is very gentle and so I wanted to unsteady it a little. I'm happy that it can read as a piece of prose - it sits beside "There Is No-One Who Can Tell You Where You've Been" from our first record.Alison plays piano strings on this, and Alison, Basil and I wrote the oboe part together one Sunday morning... the song really needed an oboe! It sounds like woodcuts to me, and ink, and a very heavy sky.THIS KISS WILL MARRY USWe were going to call the album this - it's like an unwritten Burns poem.This is another old song - I recorded a version of it at Ca Va in 2001 along with I Know Who You Could Be (which was on Profit In Your Poetry) and two songs we¹ve not released yet called Juicy Fruit and Mouchette. Again, the ARP was a key part in writing it - originally, the little piano riffrepeated over and over again. I recorded the first demo on Halloween 2001 and I've got lovely memories of that.We recorded the sea sounds at Irvine beach on New Year's Day, 2008 - we got about 15 minutes worth, inciting the seagulls with a goat's cheese tart. I also wanted to get the sounds of sails slapping against masts but, strangely, all the boats were out of the harbour that day.The introduction to This Kiss Will Marry Us was originally another old song- one I'd forgotten about and found going through cassettes when I was moving house. I used to catalogue the songs I wrote but this one had no title or date - I think it was from the same times as When I'm Asleep though, when I was trying to write sea shanties on melodica.Alison plays the piano strings again, and the Rhodes too... I wanted it have the feeling of uneasiness you get from the gentler songs on the Assault On Precinct 13 soundtrack, which are warm and incredibly cold and detached at the same time. That's how the song feels to me - being aware of the structure and purpose of emotion but not knowing how it works at all.A BETTER GHOSTMusically this was, by far, the easiest song to write for the record - the whole song fell into place in about five minutes. I was watching the 2007 Scottish Cup Final in the house with my pal Iain at the time, and we'd got sandwiches and coffee and cake from a place called Espresso, which is one ofmy favourite places to eat. I was probably feeling pretty happy and satisfied.The lyric to this one is my favourite on the record - I wanted to use the phrase "a better ghost" for ages but couldn't exactly work out what it would mean. It came eventually though... I remember reading that birds can flockand fly in formation because they have magnets in their bones. I don't know if that's true or not but I liked the idea.We made a video for this song with our pals Keith and Allison. There is a real feeling of tenderness between them in the video which I really love. The song tries to be tender, but stoic too.CLOCKWORKI can barely play piano and Alison and I more or less got here by trial and error and me humming everything. There is a chord change in the instrumental section that's consciously All Of My Heart by ABC and the general feel I was hoping for was Vince Guaraldi.This is definitely the most complicated song for us to play! Findlay is an incredible drummer - we're constantly in awe of how quickly he can pick things up, interpret them, and then make them entirely his own. We ended up with a samba current all the way through this, blocks, congas... I was playing a guitar rhythm I'd cribbed off the Miracles and Basil is playing this really beautiful, bluesy little riff... It's on our agenda now to learn how to actually play it together.The cornet players from Kings Park Brass Band play on the second half of this song - when we'd completed the instrumental I couldn't quite believe we'd come up with it all.WHY I LIKE BABIESThis is another old song - I wrote it in the summer of 2000. It's changed a little musically since then, but oddly for me the lyrics are pretty much intact. I like the line "I watch with tired eyes as you seduce yourself" -that's the mood for the song.As a band we were actually playing this before much of the material for our first record was finished, but we struggled to get it to hang together properly. We tweaked the drums though - it's got a little stutter and roll from The Train From Kansas City by the Shangri Las in there now - and it suddenly worked.Originally, the song started with guitar and vocals but we worked on a different introduction... We wanted it to sound like the Carpenters. Basil's guitar makes it more Candy Says... and we managed to get some use out of the studio Mellotron in the middle eight.We gave the clock we used at the end of this song to Ulla, who did all the artwork for the record.SUNDAY BELLSI wrote this, as Sparks, in about 1999 in a batch of about six songs in two weeks. Originally it was a real rant - I couldn't get the words out fast enough. We started working on it again when we were on tour in October 2007 and actually got round to sound checking it a few times.I rewrote the words last summer. I always found the sound of Sunday Bells quite ominous - they remind me of being little and having the quilt pulled up to my eyes.Basil's guitar reminds me of Don't Fear The Reaper; the Hammond reminds me of I Will Die With My Head In Flames; Findlay's drumming is as precise as disco and we put in a deliberate little nod to Blue Monday going into thelast verse.REACT OR DIEAgain, this song was written and pretty much ready before "Profit In Your Poetry" but I wanted to save it for a second album.The song started out as a poem I'd written about a Diane Arbus photograph. It was of a couple of married kids in Washington Park Square in New York...They were babies, but furious and utterly defiant to the camera. The poem was more about how I imagined that type of person.I wrote it when I was on holiday in Philadelphia in 2005. I had a rare moment on that holiday - it was Halloween and I was walking. It was warm, I was just off the campus at Penn University. It was about 4pm and the sun had started to drop and suddenly the angle of the light and the shadows on the building opposite was perfect. It was so beautiful and still and it literally felt I had spent my whole life waiting for that moment. And it felt like the end of something... it's not explicitly connected, but because I was working on this song at the time, this song reminds me of that moment. It's apt that it's the last song on the record.When the brass band come in it's meant to sound like the lights of miners' hard hats appearing over the hill. Alison arranged that little piece and it brings a lump to my throat.I really enjoy songs that are less than two minutes long.React Or Die is out in the UK on the 6th of April 09 viasmashing indie/club imprint How Does It Feel To Be Loved? The album comes with a 16 page booklet and liner notes by John Blain Hunt. Here's a tracklist:"A Better Ghost" will be the second single, out 23/03/09.Orginally published here:http://www.godisinthetvzine.co.uk/content/content_detail.php?id=3149&type=FeaturesAll content syndicated from http://wwwg.odisinthetvzine.co.uk